By Lawrence Kramer
This elegantly written publication is a daring try and reinterpret the character of sexual violence and to visualize the potential of overcoming it. Lawrence Kramer strains brand new sexual identities to their nineteenth-century assets, drawing at the tune, literature, and considered the interval to teach how general identification either promotes and rationalizes violence opposed to women.To make his case, Kramer makes use of operatic lovedeaths, Beethoven's "Kreutzer Sonata" and the Tolstoy novella named after it; the writings of Walt Whitman and Alfred Lord Tennyson, psychoanalysis, and the common sense of desires. In formal and casual reflections, he explores the self-contradictions of masculinity, the moving alignments of femininity, authority, and hope, and the interdependency of straight- and homosexuality. even as, he imagines possible choices which could enable gender to be free of the present process of polarities that unavoidably advertise sexual violence.Kramer's writing avoids the normal gown of highbrow authority and strikes among track and literature in a method that's either intimate and powerful. He combines educated scholarship with candid own utterance and makes transparent what's at stake during this an important debate. After the Lovedeath could have a profound effect on a person drawn to new how you can take into consideration gender.
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Additional resources for After the Lovedeath: Sexual Violence and the Making of Culture
It turned out to be nothing but a man in a woman's low-necked dress, and a dog done up in walrus skin and swimming in a bathtub. . It was something like what I felt when I learned to smoke—when I felt nauseated and the saliva gathered in my mouth and I swallowed it and pretended that it was very pleasant. 410; translation slightly modified Sex in marriage is something that, when you take it in, either takes you in, like a sideshow, or makes you want to get it out, like ― 117 ― smoky spittle. Of course it's not supposed to be like that.
It was something like what I felt when I learned to smoke—when I felt nauseated and the saliva gathered in my mouth and I swallowed it and pretended that it was very pleasant. 410; translation slightly modified Sex in marriage is something that, when you take it in, either takes you in, like a sideshow, or makes you want to get it out, like ― 117 ― smoky spittle. Of course it's not supposed to be like that. What could be the problem? In sex the man is familiarly supposed to "possess" the woman, a possession redoubled in the married man's proprietary right over his wife's body, and this act of possession is supposed to ground and ratify the structure of gender polarity.
Consider once more the second movement of Beethoven's "Kreutzer" Sonata, music that not only culminates in gender synergy but also dramatizes the emergence of that synergy from gender-polarized femininity: music that takes the gratifications of decorous sentiment as stepping-stones to the high-flying rapture of variation 4 and the prismatic expressivity of the coda. On the way to this transfiguration, the music also insinuates a critique of the gender-polarized first movement. Is the first theme of the latter fiercely insistent?